If you've ever wanted to know the "correct" words to "Roll Me Over," or wondered where the melody of "Sweet Betsy from Pike" came from, this book can answer your questions. Extensively revised and including forty more songs than its predecessor, this new edition of The Erotic Muse is a unique scholarly collection of bawdy or forbidden American folksongs. Ed Cray presents the full texts of some 125 songs, with melodies for most of them and detailed annotations for all. His lively commentary places the songs in historical, social, and, where appropriate, psychological context.

Unprintable Ozark Folksongs and Folklore, Volume II, Folk Rhymes and Other Lore

"One of the finest works to come out in recent years on cowboy songs, in addition to being the first good collection of the cowboy's bawdy material. . . . A must for anyone who is a student of cowboy music--or anyone who just likes the sound of dirty subject matter rhyming." -- Hal Cannon, Journal of Country Music "A brave and honest step toward increasing our understanding of what cowboys really sing." -- Bob Bovee, Old Time Herald "A thorough piece of scholarship and collectanea and a valuable, welcome addition to cowboy song literature." -- Keith Cunningham, Mid-America Folklore "Logsdon has written the book with a scholar's attention to detail. But what shows through the scholarship is the collector's enthusiasm for the material. . . . A superb job in a difficult area." -- Angus Kress Gillespie, Journal of American History "A major contribution to the folklore and popular culture, history, and social psychology of American cowboy culture." -- Kenneth S. Goldstein, former president, American Folklore Society

In this unique history of the “Lost Battalion” of World War I, Alan D. Gaff tells for the first time the story of the 77th Division from the perspective of the soldiers in the ranks. On October 2, 1918, Maj. Charles W. Whittlesey led the 77th Division in a successful attack on German defenses in the Argonne Forest of northeastern France. His unit, comprised of men of a wide mix of ethnic backgrounds from New York City and the western states, was not a battalion nor was it ever “lost,” but once a newspaper editor applied the term “lost battalion” to the episode, it stuck. Gaff draws from new, unimpeachable sources—such as sworn testimony by soldiers who survived the ordeal—to correct the myths and legends and to reveal what really happened in the Argonne Forest during early October 1918.

Unprintable Ozark Folksongs and Folklore, Volume II, Folk Rhymes and Other Lore

Sentimental, bawdy, and personal--these were the songs working cowboys sang for fun. Guy Logsdon's field collection of the cowboy is truthful and vastly entertaining. Illustrated.

During his correspondence with erotic folklore collector Gershon Legman, famed chantey singer and collector Stan Hugill (1906–1992) shared unexpurgated versions of the songs in his repertoire. These bawdy songs were meant to be a part of Legman’s larger project concerning erotic folksong. Upon Legman’s death in 1999, the unfinished and unpublished manuscript sank into obscurity and was believed by many to be permanently lost. Thankfully this “holy grail” of chantey texts had been safe in the private collection of Legman’s widow, Judith Legman, all along. Cabin Boys, Milkmaids, and Rough Seas: Identity in the Unexpurgated Repertoire of Stan Hugill is the first critical investigation of this repository, reproduced here for the first time. Training an interdisciplinary lens on twenty-four unexpurgated texts, author Jessica M. Floyd interrogates the articulation of gender, sexuality, and identity as it is expressed in these cultural artifacts of the sea. Opening with both a critical explication of the chantey genre, as well as situating Hugill’s repertoire in the canon of folksong, the book introduces readers to the critical realities that attend this rich cultural tradition. Analytical chapters demonstrate the kaleidoscopic representation of gender and sexuality in this finite repertoire. Each inquiry is connected and overlapping, demonstrating an ebb and flow not unlike the waters on which the songs were sung. Words of warning, heteronormative economies, and queer undercurrents each collide to present an image of sailing life that is nuanced and complicated, provocative and evocative, transgressive and sometimes radical. The volume allows scholars to place a finger on the pulse of maritime life, feeling and experiencing one voice among the din of working-class song traditions.

Popular culture is important in wartime. It asserts the values of patriotism, helps to create happy warriors, and expresses people's emotions. Here, Cleveland treats war as popular culture, using service songs, folklore, and popular music as a leitmotif to explore cultural relationships between military life and society. Drawing on 20th-century lyrics, occupational folklore, and rank-and-file parodies, protests, and sexual fantasies, he shows how crises of war are mediated by popular culture and how the soldier comes to terms with boredom, discomfort, and danger. Ranging from World War I to Vietnam and drawing on his own experience in World War II, Cleveland provides a unique treatment of military folklore and popular song in 20th-century warfare from the perspective of the ordinary soldier.